FC Bergman is recreating the majestic Rubens room at the Museum of Fine Arts in Antwerp, which is currently closed for renovation. Het land Nod is both comical and melancholy, a sequence of powerful images inspired by the French cinema.

Get to know the latest generation of theatre-makers and technicians. In June, the theatre students at the RITCS will be presenting their graduation productions as the final part of their courses in Directing and Stage Technique.

The Dutch artist Germaine Kruip transforms the theatrical space into a ‘field of cinematic experience’. Shadow, reflection, architecture, and stage become the characters in a filmic experience created in the moment itself.

Welcome to Caveland! is set in an allegorical world populated by fantasy animals, giant moles and figures from the underworld. The cave dwellers travel from city to city like a circus to present their ‘ecosophical’ tale in theatres and at festivals.

With donkey’s ears on his head, Lucas Vandervost takes Ludwig Wittgenstein’s Tractatus Logico-Philosophicus, an essential philosophical work on the relationship between world and language, and turns it to his own ends. Not as a lesson in philosophy, but in a unique monologue in which he reveals and analyses Wittgenstein.

Peter Verhelst writes and directs a piece about the dark alliance between love and violence. A man returns from a military mission during which he has committed both murder and rape. His wife knows about this, but still allows him to come back home, out of love for her daughter. Is resilience and forgiveness enough to enable you to live with a monster? Our society is obsessed with transgressors – Verhelst, however, is obsessed with those who want to (or have to) live with them. Els Dottermans plays the mother, An Miller her daughter.

As a trauma patient, Fumiyo Ikeda is given inventive treatment by her therapist Frank Focketyn. Full body motion capture registers all her movements, as she repeatedly experiences and pushes away her memories and emotions. She feverishly steers her digital representation, hoping to come to an accommodation with it and thus emerge from her trauma. As always, Eric Joris and CREW play with your perceptions. In the meantime, Peter Verhelst’s text unravels trauma and the impossibility of intimacy.

Some girls fall for the wrong kind of men, but Laura van Dolron falls for the wrong kind of philosophers. Once a year, Jean-Paul Sartre pays her a visit and bombards her with philosophical rhetoric. This time, however, things turn out differently: the man wants to apologise. During the cathartic brainwashing that follows, Van Dolron broaches life’s grand themes, sparing no one in the process – neither you nor herself.

In Jean Cocteau’s farewell monologue The Human Voice (1927) – in which you see and hear a woman phone her ex-lover for the last time – the telephone plays a merciless role. It is only the woman’s reactions that hint at her absent ex’s replies. Who is it on the other end of the line? Now Ramsey Nasr presents his version of events, again directed by Ivo Van Hove.

In the midst of a brutal act of revenge, a boy and a girl exchange looks. Unwittingly, and without saying a word, their lives become inextricably linked. Inne Goris has adapted Alessandro Baricco's novel about the impact of war and the shared destiny of perpetrator and victim. This universal tale of revenge and grief explicitly poses the question: is reconciliation possible?

What begins as an innocent game soon degenerates into a fierce battle with a victorious winner. The line between real and unreal begins to fade disturbingly: how fragile is our civilization in reality?

This is a woman who, on payment, you briefly possess, but rarely to love her. She wants to save her daughter from the solitude into which her own fate has plunged her. She sees the hope of a new life disintegrate at the start of the Arab Spring.

How do you deal with ecological doomsday scenarios? Schwalbe reduces the answer to one simple act: cycling. They generate electricity for the performance using exercise bikes. Until exhaustion takes over.

For the first time we welcome the Spanish dramatist, writer and performer Angélica Liddell to the Kaaitheater. Her use of powerful imagery made her the revelation at the 2010 Avignon Festival. She is sometimes described as the female Rodrigio Garcia, that other big name in Spanish avant-garde theatre. Black humour and religious symbolism find a prominent place in her work.

Pierre Audi locates Bach's St. John Passion in an austere set inspired by Wim Delvoye's images. The passion questions the opposing claims on the truth found in religions and the conflicts it causes. Iconoclast Delvoye looks right through these truths with X-ray eyes, reducing them to a meagre pile of mouse bones.

In her new performance, Laura van Dolron strips away all the laws of theatre in order to get even closer to you. In this updated version of Wat nodig is she is accompanied by Steve Aernouts. Together you press pause, so that you can rest for a while from all those people with opinions. Spirituality does not necessarily need to be anti-intellectual; Van Dolron succeeds in making it sexy!

It is not since staging of/niet ten years ago in 2006 that the STAN actors have created a performance featuring just the four of them, with no guest actors. Now they are presenting wat/nu, based on Sleep you little child of mine by Jon Fosse and A Piece of Plastic by Marius von Mayenburg.

A performance about the clash between Mozart’s dynamic talent and the craftsmanship of the hardworking Salieri. As well as a duel between two theatre-makers. Vincent Rietveld of De Warme Winkel and Marien Jongewaard, cofounder and inspirer of Nieuw West, take up the gauntlet.

Young theatre maker Orion Maxted builds a performance machine. Humans take the role of the different machine parts – applying a simple algorhythm, they transform each other’s words and gestures into complex structures.